This page is still under construction, and lacks the necessary diagrams and images.
Until I can get them in, please look at this YouTube video. Starting at about 10:30, it fully describes the notation system I use.
Adding the Dagger
“what is his weapon?”
“Rapier and dagger.”
“Well, that’s two of his weapons, but no matter.”
A little joke from Hamlet.
Fighting with the dagger uses the same techniques as those for the rapier. All of the cuts, thrusts, and blocks for one can be used for the other, and with two weapons we have a few other options as well. Simultaneous attacks are possible, as well as using both weapons to block a single powerful cut, either as a parallel block [both weapons pointing either up or down] or a cross block [the weapons forming an “X” in the air and catching the incoming cut in the formed “v” shape of the crossed blades]. The sword is the historically the primary attacking weapon and the dagger is the primary blocking tool, but in a staged fight both weapons are used in both capacities for added visual excitement. For example, the sword might be used to parry an attack, but then the dagger is brought up to replace the sword, “holding” that attacking blade in place (called a transfer parry), which frees the defending sword to initiate its own attack.
When two weapons are used, the stances of the fighters usually change. You’ll recall that in single rapier fighting the lead foot and the sword hand are on the same side, usually the right. In rapier and dagger, with the rapier held in the right hand, by standing with the left foot and left shoulder forward both weapon tips are equally distant to the opponent, and therefore equally dangerous. Which hand is held high and which is held low is up to the fighter, and would change constantly during a fight anyway in order to confuse the opponent.
Let’s go beck to the previous fight phrase that we worked out to see a little rapier and dagger fighting. In notating the moves, we’ll add “R” and “L” to each number so as to designate which hand is to be used, right or left.
And, of course, the opponent’s moves:
Side A Side B
If we try to extrapolate a little story from side A, we might say that he starts off by confidently using only his dominant weapon for the first three moves (the sword), then has to use a cross block with both weapons on move 4 in order to protect his head, immediately uses the sword to protect his right flank, and then aggressively uses the dagger to push his opponent back in move 6.
For side B, he is playing it conservatively, rather predictably using his right hand on the right side, left hand on the left. However, he does take advantage of an apparent opening when, after the vertical head shot on 4, he goes right to a high line attack on move 5 with the same weapon, probably as a compound attack.
Just for fun, let’s try different hands doing the same sequence.
And, for the partner:
Side A Side B
So the pattern of attacks and defenses hasn’t changed, but the phrase now has a very different feel. For side A, there is a strong feeling that he’s holding his sword in reserve, waiting for the right moment to strike, which he finally does in the last two moves.
Side B has what at first seem to be ungainly combinations, but this can be used to the actor’s advantage. Taken one way, the character could be in dire straights, desperately attempting to survive the fight without being able to construct a viable strategy. On the other hand, get creative with all of these moves that make the arms cross in front of the body. They open up great opportunities for elaborate circular arm moves or even spinning the body from move to move.